3 Camera Studio Configuration

[TimPipher]

Here's a question I posed to the company. I'm sure they're getting lots of questions so I suspect it will be awhile before they respond. In the mean time, your responses to my questions would be greatly appreciated!

Here's my e-mail to Red:

Hello. I am wrapping up construction of a TV and movie studio in Vero Beach, FL (SoutheasternStudios.com). Our plan is a three camera set up (two Sony F900r's and one Thomson Grass Valley Viper), switching live and recording to a Sony SRW 5500 HDCAM SR deck.

Could I substitute three Red cameras for the cameras above, have them in a studio configuration running through an HD switcher, and record to the HDCAM SR deck?

As an added twist, we'll be using a 3D virtual studio system from Orad that the cameras would be linked to. Could the Reds' signal be processed live, rather than raw, so the colors would match up live with the virtual backgrounds?

Finally, if three Reds were ordered at NAB, what would a reasonable shipping date be?

Thanks in advance for your help!

Tim Pipher

[Steve Freebairn]

To answer the ship date part of the question, it would be at least October, since Jim has said that it will take that long to fill the reservations. That is the earliest if you were first in the huge long line of people waiting to order the cameras.

Your setup sounds awesome. Is it going to be similar to the Big Big World?

[TimPipher]

Hello kinobairn and thanks. Not sure what the Big Big World is.

Tim

[Patrik Forsberg]

Tim,
would like to get in contact with you to share thoughts. I am building a 1200sqm production site in stockholm sweden with a 400 sqm greenscreen studio for commercials. I have three reds ordered, 172 being the lowest number. Would like to know your thoughts on virtual studio for commercials

all the best
p

[TimPipher]

Hello Patrik. It sounds like we're building similar facilities.

I'm a great believer in virtual studios for commercials. In fact, I'm a great believer in them for producing movies too. My belief is that with an HD 3D virtual studio system, movies can be shot entirely on greenscreen (as in Sin City and 300), but, with live compositing, months of time in post production (and tons of money) will be saved.

Will you run your Reds through a switcher? Do you think my set up will work using Reds instead of the F900r's and Viper?

When do you think you'll get your Reds?

Thanks!

[Patrik Forsberg]

Most probably we will duplicate the way we have been using our 35mm, ie shooting greenscreen viewing through a switch sd or 720 with a live key to get the right angles and proportions, and then go into post. What I am wondering is how far technology has come to incorporate 3d models and photo backdrops in full resolution, ie produce an offline as we shoot, and duplicate an on-set shooting style.
I believe I will have my first red in june. The new facility will be built around september.
pls check

http://server.forsberg.se/fmd/online.html?id=fceabbbfbc1776281bb9e42d3ebd0bd5

to see a commercial we did for for a gay site. (super says "a site for guys who like guys")

And don't get me wrong. I'm straight as hell
:-)
just like doing fun commercials

all the best
p

[TimPipher]

That's great stuff -- loved the RKO/Forsberg swap at the beginning too. I'm banking that the 3d technology of the Orad (or Brainstorm, VizRt and other systems, for that matter) has advanced to the point that greenscreen shooting in a virtual studio can be almost identical to shooting on a real stage, especially after we've worked out the kinks.

Tim

[Patrik Forsberg]

Any idea of cost?

p

[TimPipher]

In the $200,000 range, depending on set up and tracking method. Also, I'm adding Ultimatte chromakeyers rather than using their version or my switcher's chromakeyer (not included in the $200,000).

[Steve Freebairn]

Ok, Big Big world is a show on PBS, I saw an article a while back that talked about how they have a motion capture head that records focal length, angle of the head and also position in studio. Then they use that along with Maya to create the show. There isn't anything else I've seen like it. They do camera moves and tracking that would take quite a while without their setup. My 15 month old really likes the sloth on the show, I personally am a big fan of the fish, because I know it is just a sock puppet, but it is the only sock puppet I've ever seen that has digitally realistic ripples in a fake pond :)

[Steve Freebairn]

Forgot to mention that they are using everything uncompressed, if I remember right it was an F900, but I'm sure it would look better off of the red :)

[Curran Giddens]

Funny seeing the idea of creating a studio for greenscreen movies (Sin City and 300) and PBS's "It's a Big Big World" in the same thread.

I'm currently in the process of starting my own studio for greenscreen movies and most of my experience in this area comes from Shadow Digital, the company that produces "It's a Big Big World."

Doug Trumbull actually invented the technique for use in "The Book of Pooh" (Playhouse Disney), which I worked on post-production a few years ago. I also did some promo work for "It's a Big Big World" more recently.

By the end of the year I should have most of the necessary studio equipment and software. I'm just hoping Doug will let me use his giant greenscreen stage that has been vacant for the last couple of years.

[Patrik Forsberg]

So Curran,
what studio equipment and software will you be using? Our facility will be all commercials (except for some 300 and Sin City rip-offs during the night shift:-)
We do national and pan european campaigns, and need really high standards when it comes to finish. Lights, occlusion etc need to photorealistic. Any thoughts?
All the best
p

[Curran Giddens]

I will be starting with everything RED makes and everything View Factor makes. I'm hoping by the end of the year, View Factor will have a MoCo dolly/jib + lighting, matte box, and support to go along with their MoCo head and remote, repeatable F/I/Z. While it won't be as easy as Shadow Digital's realtime camera motion tracking and Ultimatte setup, it will be much cheaper. Since I won't have a realtime composite of the virtual set and live action together on-set, I'm hoping the use of the RAW format for acquisition, and openEXR for post, will help match the lighting.

[Patrik Forsberg]

Any news on how Curt is doing? Releases at NAB?

All the best
p

[Curran Giddens]

So Curran,
what studio equipment and software will you be using? Our facility will be all commercials (except for some 300 and Sin City rip-offs during the night shift:-)

My facility will also be available for commercials etc., and then use the same crew for work on my own 300 and Sin City rip-offs when not in use for paying gigs. I'm hoping the paying gigs will pay for my own projects. I won't have any money left to hire a crew/actors etc. unless I get some paying gigs (or investors). All the money for this studio equipment is coming out of my own pocket! :unsure:

I used to work the night shift back when I was working on post-production for Shadow Digital

[Curran Giddens]

http://homepage.mac.com/rasjudah2/

This is about as close to a demo reel as I have available. Too bad the best video on here doesn't work (corrupted?). The "BehindTheScene160x120.mov" shows the process for creating "The Book of Pooh" using puppets and puppeteers, MoCo crane, Ultimatte keying and realtime composite with virtual set, but don't download that one because it doesn't play. The SKFM music video is fun though. Sizzling Kung Fu Mice set to Fatboy Slim's "Kung Fu Fighting" song. There is also a .psd of Snook the sloth from "It's a Big Big World."